Well gosh - you would have made a fine Russian doc, surely! too bad.
Looking forward to seeing guzel Kashgar on the big screen too!
My good pal here in Urumqi worked on the extra casting for it and filled me in on locations. The stadium is actually out near Beijing ironically. He said that the blue burkas in the stadium crowd scene actually conceal the Chinese college chicks they hired!

I just have to imagine that even with all the permits from Beijing, the PSB and Army units near the Pakistan border were probably still very nervous about all those fake Taliban wandering around.

@Fausto: Thanks for the tip. Any other specific locations would be greatly appreciated! Was I right about the stone city ruins at Tashkurgan?

I'm no expert, but I would assume that real Taliban don't travel around with huge catering trucks..or put their beards on a shelf after hours.
I didn't hear of any brush ins....but who knows..
I have a few photos of Afghani guys in 70's leisure suits from the film..they probably cooled the PSB down a bit. ;)

Sure looks like the Tashkurgan ruins. I know they definitely shot there and in the streets of old Kashgar.

My friend worked in extra-casting... so mostly went around, grabbing people off the streets of Kashgar saying, "Hey YOU! wanna be in a motion picture?" in Uyghur. Consequently, I have hundreds of mug shots of likely movie extras sitting on my machine. I might end up looking for faces as a result.

It is indeed the ruins at Tashkurgan. I stopped there for a night on a trip to the border this summer and climbed around on them and shot photos from several angles. The view in the trailer looks like it is from the north. My driver kept pointing out places along the road where scenes were shot. I suppose it won't be too long until there will be developed tourism to see the movie's scenery, just like New Zealand's Lord of the Rings tours!

Hi.I am one of the audiance of The opposite end of China from Japan.
I really enjoy your blog for last two years.
Now,Here is the photos of scenes of the movie.

http://www.recordchina.co.jp/group/g3846.html

It looks like the Taliban are driving Chinese Great Wall pick ups to.

Dang. My favorite place in the world I've never been to (Wahkan corridor/western Xinjiang) is to be discovered.

The day they make a tourist site of Genghis Khan's birthplace, the anti-Christ will shoot forth from Bush's navel like a Ripley alien TVangelist, and The End will be upon us.

Good thing I already made it out to Kashgar and Tashkurgan a couple years ago...this thing is going to do wonders to the local tourism economy though.

Actually, this whole Afghanistan/China thing might be going over quite well with those in charge. Afterall, associating the Taliban with Uighurs would seem to go along quite well with popular myths about Xinjiang.

@kenmeer

Get your fish net in place in front of Bush's navel to catch the Anti-Christ ..... the Mongols ARE making tourist sites out of Genghis Khan's birthplace and other significant "locations" in his life. Saw them on a trip in 2005. His birthplace is in Hentiy (or Khenti) province to the east of UB where, according to the "Secret History of the Mongols", he was born. However, the actual narrowing down of a specific location is an interesting feat when we are talking about nomads..... even if they tended to re-visit many locations year after year. Anyway, the museum is housed in several gers containing brass statues, paintings, etc. that function as a memorial and are interesting in several ways: informative on Genghis Khan's life, on the need to establish tourist destinations to make money, and on the need to memorialize Genghis Khan as national hero/national symbol/ and for national pride. There is another monument near the Khuduu Aral or the Palace of Genghis Khan outside of Delgerkhaan, Hentiy's capital .

‘The Kite Runner’ Is Delayed to Protect Child Stars
By DAVID M. HALBFINGER
October 4, 2007

LOS ANGELES, Oct. 3 — The studio distributing “The Kite Runner,” a tale of childhood betrayal, sexual predation and ethnic tension in Afghanistan, is delaying the film’s release to get its three schoolboy stars out of Kabul — perhaps permanently — in response to fears that they could be attacked for their enactment of a culturally inflammatory rape scene.

Executives at the distributor, Paramount Vantage, are contending with issues stemming from the rising lawlessness in Kabul in the year since the boys were cast.

The boys and their relatives are now accusing the filmmakers of mistreatment, and warnings have been relayed to the studio from Afghan and American officials and aid workers that the movie could aggravate simmering enmities between the politically dominant Pashtun and the long-oppressed Hazara.

In an effort to prevent not only a public-relations disaster but also possible violence, studio lawyers and marketing bosses have employed a stranger-than-fiction team of consultants. In August they sent a retired Central Intelligence Agency counterterrorism operative in the region to Kabul to assess the dangers facing the child actors. And on Sunday a Washington-based political adviser flew to the United Arab Emirates to arrange a safe haven for the boys and their relatives.

“If we’re being overly cautious, that’s O.K.,” Karen Magid, a lawyer for Paramount, said. “We’re in uncharted territory.”

In interviews, more than a dozen people involved in the studio’s response described grappling with vexing questions: testing the limits of corporate responsibility, wondering who was exploiting whom and pondering the price of on-screen authenticity.

“The Kite Runner,” like the best-selling 2003 novel by Khaled Hosseini on which it is based, spans three decades of Afghan strife, from before the Soviet invasion through the rise of the Taliban. At its heart is a friendship between Amir, a wealthy Pashtun boy played by Zekiria Ebrahimi, and Hassan, the Hazara son of Amir’s father’s servant. In a pivotal scene Hassan is raped in an alley by a Pashtun bully. Later, Sohrab, a Hazara boy played by Ali Danish Bakhty Ari, is preyed on by a corrupt Taliban official.

Though the book is admired in Afghanistan by many in the elite, its narrative remains unfamiliar to the broader population, for whom oral storytelling and rumor communication carry far greater weight.

The Taliban destroyed nearly all movie theaters in Afghanistan, but pirated DVDs often arrive soon after a major film’s release in the West. As a result, Paramount Vantage, the art-house and specialty label of Paramount Pictures, has pushed back the release of the $18 million movie by six weeks, to Dec. 14, when the young stars’ school year will have ended.

In January in Afghanistan, DVDs of “Kabul Express” — an Indian film in which a character hurls insults at Hazara — led to protests, government denunciations and calls for the execution of the offending actor, who fled the country.

Perhaps not coincidentally, the “Kite Runner” actor who plays Hassan, Ahmad Khan Mahmoodzada, 12, told reporters at that time that he feared for his life because his fellow Hazara might feel humiliated by his rape scene. His father said he himself was misled by the film’s producers, insisting that they never told him of the scene until it was about to be shot and that they had promised to cut it.

Hangama Anwari, the child-rights commissioner for the Afghanistan Independent Human Rights Commission, said on Monday that she had urged Paramount’s counterterrorism consultant to get Ahmad Khan out of the country, at least until after the movie is released. “They should not play around with the lives and security of people,” she said of the filmmakers. “The Hazara people will take it as an insult.”

The film’s director, Marc Forster, whose credits include “Finding Neverland” (2004), another film starring child actors, said he saw “The Kite Runner” as “giving a voice and a face to people who’ve been voiceless and faceless for the last 30 years.” Striving for authenticity, he said, he chose to make the film in Dari, an Afghan language, and his casting agent, Kate Dowd, held open calls in cities with sizable Afghan communities, including Fremont, Calif., Toronto and The Hague. But to no avail: Mr. Forster said he “just wasn’t connecting with anybody.”

Finally, when Ms. Dowd went to Kabul in May 2006, she discovered her stars. “There was such innocence to them, despite all they’d lived through,” she said.

Mr. Forster emphasized that casting Afghan boys did not seem risky at the time; local filmmakers even encouraged him, he said: “You really felt it was safe there, a democratic process was happening, and stability, and a new beginning.”

Ms. Dowd and E. Bennett Walsh, a producer, said they met in Kabul with Ahmad Khan’s father, Ahmad Jaan Mahmoodzada, and told him that his son’s character was the victim of a “vicious sexual assault.” Mr. Mahmoodzada seemed unmoved, they said, remarking that “bad things happen” in movies as in life. The boy, they continued, did not receive a script until a Dari translation was available on the set in western China. The rape scene was rehearsed twice, they said, once with the father present.

On Tuesday the elder Mr. Mahmoodzada, reached by cellphone, rejected this account, and said he never learned the rape was a plot point until the scene was about to be shot. He also said his son never received a script.

Mr. Forster said that during rehearsals he considered including a shot of Hassan’s pants being pulled down, exposing his backside, and that neither Ahmad Khan nor his father objected. But the morning the scene was to be filmed, Mr. Forster found the boy in tears. Ahmad Khan said he did not want to be shown nude, Mr. Forster agreed to skip that shot, and the boy went ahead with the rape scene. Mr. Mahmoodzada confirmed this.

In the final version of the film, the rape is conveyed impressionistically, with the unstrapping of a belt, the victim’s cries and a drop of blood.

The filmmakers said they were surprised when Ahmad Khan and his father told The Sunday Times of London in January that they feared for their lives. Mr. Walsh and Rebecca Yeldham, another producer, flew to Kabul to learn more in February.

The producers dispelled one fear, that the filmmakers would use computer tricks to depict the boy’s genitals in the rape scene. But Ahmad Khan’s parents also pressed for more cash, the producers said.

On the advice of a Kabul television company, the boys had been paid $1,000 to $1,500 a week, far less than the Screen Actors Guild weekly scale of $2,557, but far more than what Afghan actors typically receive.

In late July, with violence worsening in Kabul, studio executives looked for experts who could help them chart a safe course. Aided by lobbyists for Viacom, Paramount’s parent company, they found John Kiriakou, the retired C.I.A. operative with experience in the region, and had him conduct interviews in Washington and Kabul.

“They wanted to do the right thing, but they wanted to understand what the right thing was,” Mr. Kiriakou said.

There was one absolute: “Nothing will be done if it puts any kid at risk,” Megan Colligan, head of marketing at Paramount Vantage, said.

Mr. Kiriakou’s briefing, which he reprised in a telephone interview, could make a pretty good movie by itself. A specialist on Islam at the State Department nearly wept envisioning a “Danish-cartoons situation,” Mr. Kiriakou said. An Afghan literature professor, he added, said Paramount was “willing to burn an already scorched nation for a fistful of dollars.” The head of an Afghan political party said the movie would energize the Taliban. Nearly everyone Mr. Kiriakou met said that the boys had to be removed from Afghanistan for their safety. And a Hazara member of Parliament warned that Pashtun and Hazara “would be killing each other every night” in response to the film’s depiction of them. None of the interviewees had seen the movie.

Another consultant, whom Paramount did not identify, gave a less bleak assessment, but Ms. Colligan said the studio was taking no chances. “The only thing you get people to agree on is that the place is getting messier every single day,” she said.

So on Sunday Rich Klein, a Middle East specialist at the consulting firm Kissinger McLarty Associates, flew to the United Arab Emirates to arrange visas, housing and schooling for the young actors and jobs for their guardians. (The United States is not an option, he said, because Afghans do not qualify for refugee status.)

Those involved say that the studio doesn’t want to be taken advantage of, but that it could accept responsibility for the boys’ living expenses until they reach adulthood, a cost some estimated at up to $500,000. The families, of course, must first agree to the plan.

“I think there was a moral obligation even before any of these things were an issue,” said Mr. Hosseini, the novel’s author, who got to know the boys on the set. “How long that obligation lasts? I don’t know that anybody has the answer to that.”

Kirk Semple contributed reporting from Kabul.

‘Kite Runner’ Boys Are Sent to United Arab Emirates
December 3, 2007
By DAVID M. HALBFINGER

LOS ANGELES, Dec. 2 — The “Kite Runner” boys are safely out of Kabul. After months of worrying and diplomatic wrangling from half a world away, the movie studio that is releasing the tale of childhood betrayal, ethnic tension and sexual predation in Afghanistan has whisked to safety four young actors. They were feared to be vulnerable to reprisal because of the film’s depiction of a culturally inflammatory rape scene.

The boys, each accompanied by a relative, arrived in the United Arab Emirates on Friday just after 3 a.m. Eastern time, said officials working with the studio, Paramount Pictures. The movie’s release had been delayed by six weeks to allow time for them to be relocated. It will open on Dec. 14 in 30 markets.

“I can’t really tell you what a weight came off when they landed safely,” said Megan Colligan, a Paramount marketing executive involved in the effort. The group exodus from Kabul did not come in time for the boys to obtain visas and attend the “Kite Runner” premiere, which will take place on Tuesday night at the Egyptian Theater in Hollywood. But Paramount executives and others involved in the relocation effort still hope to bring the co-stars to the United States to be honored somehow and to grant their wish to visit as tourists.

“We owe these kids some carefree moments as children after everything that has gone around them,” said Rich Klein, a Middle East specialist at the consulting firm Kissinger McLarty Associates, who was hired by the studio.

“The Kite Runner,” like the best-selling novel on which it is based, spans three decades of Afghan strife and centers on the friendship between Amir, a wealthy Pashtun boy played by Zekiria Ebrahimi, who is now 11, and Hassan, the Hazara son of his father’s servant. In a pivotal scene Hassan, played by Ahmad Khan Mahmoodzada, now 13, is raped in an alley by a Pashtun bully. Later, Sohrab, a Hazara boy played by Ali Danish Bakhty Ari, now also 13, is preyed upon by a corrupt Taliban official.

The young actors have already received widespread praise. In The New York Times, Karen Durbin wrote that Ahmad Khan’s portrayal “ranks among the great child performances on film.”

The director Marc Forster strove for authenticity in casting unknown boys in Kabul for the film, which was shot mainly in China last year. But in January alarms went off at Paramount when Ahmad Khan and his father said they feared reprisals. With violence worsening, even Afghan government officials urged that one or more of the boys be removed from the country, at least temporarily. The studio decided to move the three child actors as well as a fourth, Sayed Jafar Masihullah Gharibzada, now 14, who played a smaller role but became friends with the others.

Months of spadework by at least 20 studio executives, relief workers, diplomats and even a former C.I.A. counterterrorism operative culminated last week when the boys, who were in the midst of final exams, obtained visas and boarded a plane for the United Arab Emirates.

Paramount is putting them up at a luxury hotel until more permanent housing and jobs for their guardians can be found; the boys are to attend a school with other Afghan students. The studio is also paying a per diem to relatives left behind in Kabul, and has offered to keep the entire arrangement in place long enough for the boys to graduate from high school if they choose to stay.

Studio executives asked that the specific city in the United Arab Emirates not be named, saying unwanted media attention could make it difficult for the boys to adjust to their new surroundings and could even complicate efforts to extend their temporary visas there. Other news outlets already intend to report on the boys’ location, said a consultant to Paramount, who insisted on anonymity because he had not been authorized by the studio to speak on the matter: “People are being excessively aggressive. I understand the interest, but there’s something bigger at stake here. The best possible outcome would be in 20 years to see a where-are-they-now piece on VH1.”

Still, Paramount is considering ways to involve the boys in celebrating the film if they are able to get to the United States, or ways to bring the celebration to them, even if it’s just a round of applause at a screening.

“It’d be great to give them an opportunity to walk onto the stage and feel appreciated for the movie that they made,” Ms. Colligan said. “They have no idea how much they are affecting people.”

when we uyghur people can make a movie like that...

Thanks so much for this! This is exactly what I was looking for

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